Thanks to the current rebate, you can bring home a brand new Fujifilm X-T3 WW (without charger) for $999 only. And if you get it with the XF18-55 kit lens, you’ll pay only $1,299.
And yes, I know everybody is waiting to see how the Fujifilm X-H2S looks like. But no matter how stellar its specs will be, at $999 the X-T3 will remain an incredibly attractive option also after the launch of the X-H2S.
the accessory in the image shows the front side of the Tilta for Canon R5 – not the actual accessory for Fujifilm
I have rarely..
No wait, let me re-phrase it.
I have NEVER experienced such a divise discussion about a Fujifilm accessory as in case of the upcoming Fujifilm X-H2S external cooling accessory.
So it’s time to sum up all the position in one single survey and see if Fuji’s solution is appreciated or not.
But before you vote, keep in mind this:
the X-H2S will record videos also without this accessory. It’s not that you press the record button and the camera will instantly overheat
if you do a mix of photos and not too long videos, you don’t have to attach the cooling fan to the camera
the cooling accessory is probably more something for when you plan to make longer continuous videos (an interview, etc) and want to make sure you don’t occur in any overheating issues
The DNA of the X-H line is in the letter “H” which stands for “Hybrid”!
And being hybrid, it has to work fine for both stills and video shooters.
This also means that compromises are inevitable: stills shooters tolerate the selfie screen vloggers love, and video shooters will have to tolerate to occasionally have to mount the cooling accessory on the camera for longer video recordings (how long we will see on May 31).
This is why overall I applaud this solution. it gives video shooters the option to record long videos under bright summer sun without any overheating worries and at the same times gives stills shooters a more compact and affordable camera.
But what about you? Feel free to vote the survey down below.
We shared the rumor about an external cooling accessory that Fujifilm will offer for the Fujifilm X-H2S.
When we shared that rumor, some mentioned that Fuji’s solution reminded them of the Tilta Cooling System for the notoriously badly overheating Canon EOS R5.
Hence, many were thinking that also Fuji’s solution would imply a fully exposed fan on the backside spinning on your face and cutting off your nose ;).
Also, the Tilta Cooling Accessory is definitely rather thick.
But keep in mind, Canon did not design the R5 with any active cooling accessory in mind. This means that Tilta is kind of an improvised solution.
However, Fujifilm did design the X-H2S with this accessory in mind, so they have installed proper heat sinks and attachments that will allow for efficient cooling.
What this means for us in real life, is that the accessory itself will be also slimmer than the Tilta.
So, don’t worry: Fujifilm’s cooling accessory for the Fujifilm X-H2S will be overall a much more elegant, functional and efficient solution than the improvised Tilta cooling rig.
And remember: never judge anything based on rumors. Always wait for the official announcement (in our case May 31) to see by yourself, read the reviews and finally make your conclusions.
On my side I confirm: I believe this is a brilliant solution.
So how is that possible that the Fujifilm X-H2S won’t have a built-in cooling system as we first rumored here and later we also saw from the leaked images here?
In fact, Fujifilm will offer a dedicated active cooling accessory!
And how does it work?
Well, you attach it to the back of the camera, meaning you will have to flip out the LCD screen, mount it on the back on the camera and then active cooling will be performed.
Smart, isn’t it?
I mean, if you buy the Fujifilm X-H2S predominately for shooting stills, you couldn’t care less about active cooling. And Fujifilm won’t force you to buy a bigger, heavier and more expensive camera with big protruding fan.
With this solution the camera will remain cheaper, more compact and let me say this: more beautiful.
However, if video is your thing, then you have the option of this accessory. You use it (and pay for it) only if you need it.
Brilliant solution in my eyes.
This keeps the X-H line appealing also for stills shooters and makes it a great option also for video shooters.
I don’t buy into the narrative that wants you to believe you can make professional work only with full frame gear.
And it’s not just a “feeling” of mine. It’s a hard core fact proven by the irrefutable reality that you can win the Pulitzer prize or the World Press Photo Award with images taken by Fujifilm APS-C cameras.
And I also don’t buy that “sensor size is everything” narrative.
Look, I’ve shot it all: from my loved Micro Four Thirds to APS-C and Medium Format, and yes, even quite some Sony Full Frame as I have easy access to that system thanks to the SonyAlphaRumors guy living not far away from my home.
So I can confidently say: every system has its Pros and Cons and every system, from M43 to MF, can be used for professional use, of course with some cameras being better suited for certain uses than others.
So if somebody tells you that you absolutely need a system with a 70% larger sensor than full frame (the GFX system) to really stand out with the quality of your images, then you better don’t trust that person.
And yet, as we said, every system has its Pros and Cons, and the advantage of the GFX system is undeniably that it offers the best image quality you can get for a more than reasonable price.
Then add to this that the Fujifilm GFX100S and GFX50SII have the size of the Canon R5, are even smaller than the Panasonic S1 cameras and cheaper than full frame cameras like the Sony A1, and you start to get a combination of advantages that might make the Fujifilm GFX perfect for your needs.
And it sounds like the combination of advantages the GFX system offers was perfect for Jason Eng, who, in a talk with Evelyn from TCSTV explains his move to the GFX system.
Here is a quick summary:
Jason’s assistant Aiden was looking to buy into a new system. He looked at Sony, Nikon and Canon and almost pulled the trigger on the Canon
Jason suggested him to try the GFX50SII which costs about the same what Aiden was about to spend for the Canon
Aiden put his hands on the GFX50S and it had “these magical files“
then they also shot the GFX100 side by side with Sony A1 and Canon R5
even by just comparing the images on the laptop sized screen, they noticed the detail in shadows and the way that the camera handled gradation from highlight to shadow was just… “I could not unsee it, it tortured me until I inevitably bought the system“
he bought the GFX100 with a classic pro body with integrated grip and fully usable autofocus
he often shoots vertical, so having the integrated grip is important
he was and still is a Sony shooter, enjoying a smaller and lighter body
then Fujifilm offered the GFX100S with its smaller and lighter body and it reached a larger target audience than what the GFX100 could do
both options, GFX100 and GFX100S, are great
he often shoots tethered and loves that the film simulation he uses goes right into Capture One
as a long time Sony user for 10 years, color was always hard. The standard was Canon
when Fuji released their APS-C mirrorless cameras he loved the colors, but he could not commit to a smaller sensor than FF
but now they have exceeded his expectations and gone larger than full frame
skin tones are great, reds are beautiful, rich and deep
he uses also legacy glass adapted to the GFX system
Fujifilm offering GFX cameras from $4,000 to $6,000 is a game changer for medium format
color and shadow tonality range, you can’t unsee it once you see it side by side
Loading ...
